from the lessons-learned dept

Yesterday, Louis CK announced the seemingly impossible: his next comedy special will air on HBO, and also be available as a DRM-free download like his revolutionary Beacon Theatre show. Yes, even the network so infamous for its tight grip on content that fans have literally begged it to take their money can't ignore the overwhelming success of CK's open, inexpensive, highly accessible approach to content distribution.

So far there aren't many details on the arrangement, except that the DRM-free option will cost $5 and be available on CK's website "a few months" after the initial HBO airing. Now, of course, this is the very definition of a "release window" and thus far from a perfect situation, but it's still an astonishing step (in the right direction) for the notoriously controlling HBO. Traditionally, the network's content has only been available to cable subscribers or, much later, on physical media and in major digital media stores like iTunes — despite countless fans asking for an affordable, timely standalone digital option.

As we have often said, there is still lots of room for the traditional "middlemen" of the entertainment industry if they act as enablers and not as gatekeepers. While HBO is still keeping the gate by windowing the release, this move shows that they may be beginning to recognize the change in their role: they are highly experienced at producing comedy specials and can do a lot to enable even the most talented and self-sufficient comedians — but they wouldn't be able to strike a deal with someone like Louis CK if they insisted on having total control over the final product, since he's already clearly demonstrated that he doesn't need them for that. Indeed, if you compare this to Trent Reznor's new non-traditional label deal, it seems like we are seeing the beginnings of a trend: artists who have struck out on their own and succeeded are now bringing the lessons they've learned back to the big gatekeepers, and using their cultural clout and their proof-of-concept experiments to change the way business is done. That's encouraging, and exciting — for all the protestations from industry incumbents that they are trying to save artists, it may end up being smart artists who save the incumbents.

from the rollin'-with-reddit dept

As more and more artists and entertainers come to understand that the old gatekeepers of culture are finding themselves without any gates to keep, the opportunities continue to expand. Such is the story of Zach Anner, a comedian who briefly had a show on Oprah's OWN network. Anner was born with cerebral palsy and uses a wheelchair to get around. His show, which involved him traveling around the country experiencing different locations and interacting with people, won an OWN network contest largely due to the Reddit community's votes. Where the story used to end was in the show's cancellation after only six episodes.

What's more, Anner is going in hard connecting with his fans. The show's tagline is "Do you have an Internet? Then you can be part of it!"

"Anner and Reddit co-founder Alexis Ohanian developed a plan to use the site to make Riding Shotgun a much more participatory endeavor than other shows. Last month, Reddit users helped Anner select the cities the series will visit. Now Anner’s using his official Subreddit to collect ideas of what to do in each city. He’s even using Reddit to crowdfund gas for the road."

The end result is Riding Shotgun will continue to be made and his fans will get to be directly involved and invested. So, we have an example of the old gatekeepers failing to keep a show available, while a new model for the business of a television show is succeeding. We'll have to see how this works out long term, but it's heartening when the internet helps culture win out in the end.

from the monkey-island! dept

Whoa. After dinner, I did a quick look around the web to see if anything interesting was going on, and saw someone mention that the Double Fine Adventure project on Kickstarter had raised over $100,000 in just a few hours. I clicked to open the page, but then went off to do some other things, take my dog for a walk, tuck my son into sleep, chat with my wife, etc. Then I came back to my computer, and someone else mentioned that it had now raised over $200,000. And as I write this, it's getting mighty close to $300,000. Who knows where it'll be by the time you read this. Either way, the basic story is that popular game development shop Double Fine wants to create a new point-and-click adventure game, but says that no publisher will pay for such a thing (even though they have Ron Gilbert -- the creator of the original Monkey Island games on staff).

So they decided to go to Kickstarter. And, as a part of that project, they're also planning to create a documentary film about the making of the game... using the same filmmaking team, 2 Player Productions, who have also been working on a documentary about video game maker Notch (who you hopefully know already). But they wanted to raise $400,000. $300,000 for the game, and $100,000 for the documentary. That's still a significant chunk to raise over Kickstarter... but clearly the public thinks it's worth it. You should check out the awesome video that Tim Schafer, Double Fine's boss, put together, embedded here:

The video is quite awesome.

Separately, Double Fine wanted to offer some super premium tiers which were simply too rich for Kickstarter to handle, so they had to post them to their own website. These include the following:

Pledge $15,000 or more:
Dinner with Tim Schafer and key members of the dev team.

Pledge $20,000 or more:
Dinner and BOWLING with Tim Schafer and key members of the dev team.

Pledge $30,000 or more:
Picture of Ron Gilbert smiling.

Pledge $35,000 or more:
Undoctored picture of Ron Gilbert smiling.

Pledge $50,000 or more:
Become an actual character in the game.

Pledge $150,000 or more:
Tim Schafer (that’s me) will give last four remaining Triangle Boxed Day of the Tentacles, in original shrink-wrap.” (Limit of 1) (Holy crap, what am I thinking? I only have four of those!)

There are plenty of interesting things to discuss about all of this, but one of the key points is that this shows how content creators sometimes can read a market much better than the traditional gatekeepers. Double Fine knows that no publisher would give them money for this game because the "experts" at those publishers (gatekeepers) don't think there's a real market for them. But there clearly is, and it's all coming out thanks to the Kickstarter campaign, and this massive rush to fund the game.

I also find this amusing, coming just hours after someone was telling me on Twitter that Kickstarter was no way to fund serious development, because people just aren't willing to pay for creating new things. It appears that plenty of people disagree. Anyway, we've embedded the pledge widget below, because at the rate people are pledging, I'm sure the numbers we talk about above are likely to be out of date pretty quickly, and it seems likely that this game will far surpass its $400k goal. I'm just wondering if Ron Gilbert will ever actually smile.